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Oral Strategies for Conflict Expression and Articulation of Criticism in Zulu Social Discourse

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Oral Strategies for Conflict Expression and Articulation of Criticism in Zulu Social Discourse ORAL STRATEGIES FOR CONFLICT EXPRESSION AND ARTICULATION OF CRITICISM IN ZULU SOCIAL DISCOURSE By Noleen Sheila Turner Submitted in fulfillment of the requirements for the degree of D.Phil in the Faculty of Humanities: School of Languages and Literature, University of Durban-Westville. Promoters: Prof P.J. Zungu Or J. Conolly Co-Promoter: Prof J. Coullie Durban October 2003 DECLARATION I, Noleen Sheila Turner Reg' No. 8523331 Hereby declare that the thesis entitled ORAL STRATEGIES FOR CONFLICT EXPRESSION AND ARTICULATION OF CRITICISM IN ZULU SOCIAL DISCOURSE is the result of my own investigation and research and that it has not been submitted in part or in full for any other Degree or to any other University. ......................04 - D4............... - 04- Date 11 ABSTRACT This study examines the oral strategies employed by Zulu speaking people in the expression of conflict and criticism in their social discourse. These oral discourses, viz. izibongo and naming practices, are analysed to ascertain the socially acceptable ways in which Zulus articulate their frustrations and discontent in various social settings. These are commonly used in rural communities, but they also echo in urban social settings. Hostility and ill-feelings are thus channelled through the sanctioned form of these various oral expressions either as a means of merely a1r1ng one's dissatisfaction or as a means of seeking personal redress. The study also reveals that these particular forms of oral expression with critical content, do not exist for their own intrinsic value simply to artfully describe a particular individual. They are composed primarily to serve a particular social function of conflict articulation and expression in non-conflictual ways. The function of these oral forms is that of a "socio-cultural archive" (Conolly 2001), which is vested in the memory of those who can express in performance, their renditions of personal and group identity. The aesthetic beauty of these forms must be regarded as a secondary function and a direct by-product of the primary function, which is personal identity expressed in a way which ensures that issues which could cause conflict are highlighted so as to diminish their conflictual potential. The reason for this is that in order to fulfill the first function, which is conflict reduction, Jousse (1990) states there has to be a form (rhythm, balance and formula) which makes the expressions memorisable - which literate people equate to 'poetry'. 111 ACImOWLEDGEMENTS I wish to register my indebtedness and sincere appreciation to the following: 1. My promoters, Professor Phyllis Zungu for her invaluable insights and suggestions, Dr Joan Conolly for her meticulous attention to detail, extensive knowledge in the field of oral studies, and her tireless patience and co-supervisor Prof Judith Coullie, for her expertise, advice, support and encouragement in completing this research project. Their professional competence and committed superV1S1.0n was of great assistance to me in completing this thesis. 2. My colleague Malini Ramsay Brijbal for carrying an extra share of the teaching load in the final phase of completion. 3. All the wonderful informants and colleagues who so patiently answered my endless questions and endured the many interviews which provided the information that made this study possible..... Ningadinwa nangomuso! 4. The National Research Foundation (NRF) for the financial assistance in the form of a bursary that contributed in making the research possible. Opinions expressed and conclusions arrive at are those of the author and are not necessarily to be contributed to the NRF. 5. The Uni versi ty of Durban Westville for their financial assistance in the form of a staff grant. 6. To my supportive and loving husband Sidney, our children, Shannon, Janna and Patrick and my dear friends for their cajoling interest in keeping my oft flagging spirits going, so that this project would see completion. IV DEDICATION This work is dedicated to the memory of 2 sets of the most wonderful parents any person could be lucky enough to have been blessed with, my father and mother Harold and Sheila Robertson, and my parents-in-law, Lawrence and Joan Turner. You were all such an inspiration to me. Your selfless generosity of spirit lives on beyond you. Rest in peace. v TABLE OF CONTENTS PAGE Declaration ii Abstract iii Acknowledgements iv Dedication v Table of contents vi Chapter 1: INTRODUCTION 1.1 General Introduction 1 1.2 Description and Context of the Research 3 1.3 Aim and Focus of the Study 7 1.4 Motivation for the Study 8 1. 4.1 Personal and Social Motivation 8 1. 4.2 Academic Motivation 10 1.5 The Scope of the Study 12 1.6 Limitations of the Study 14 1.7 Terminological Logjams in Oral Studies 17 1. 7.1 Terminology in Zulu Oral Texts: IzibongolIzihasho 22 1.8 The Text in Context: The Fluidity of the Performed Text 30 1.9 The Structure of the Study 33 1.10 Synopsis and Concluding Remarks 35 VI Chapter 2: LITERATURE REVIEW 2.1 Introduction 38 2.2 Conflict Reduction in Oral Communities 38 2.2.1 Scholarship on the Oral Style 39 2.3 Published Research on Oral Strategies for 48 Recording Conflict 2.3.1 Literature Review on Oral 49 Communication & Conflict in African countries 2.3.2 Research in Oral Communication and 53 Conflict in southern Africa 2.3.2.1 Songs 53 2.3.2.2 Oral Compositions:lzibongo 60 /Izihasho 2.3.2.3 Published Research in the 64 Field of Conflict and Onomastics 2.4 Recapitulation 71 Chapter 3: THEORETICAL FRAMEWORK OF ORALITY AND CONFLICT 3.1 Introduction 73 3.2 The Anthropology of Geste and Rhythm 74 3.3 The Theoretical Framework of Oral Studies 77 3.3.1 The Orality-Literacy Debate 77 3.3.2 The Oral Mode and Performance 79 3.3.2.1 Memory and Mnemonics 82 3.4 Theoretical Framework of Conflict in 86 Oral Societies vii 3 . 4 . 1 Conflict in Africa 86 3.4.2 The Process of Socialization and 89 Control 3.4 . 3 The Nature and Form of Dispute 90 3 . 5 The Forms and Functions of Humour in Oral 98 Composition 3 . 6 Recapitulation 100 Chapter 4 CONFLICT EXPRESSI ON IN ~NG : THE SCIENCE OF ONOMAST I CS AS AGENT OF CONFLICT MANAGEMENT IN ZULU SOC I ETY 4 . 1 Introduction 101 4 . 2 Methodology 103 4 . 2 . 1 Identity of Respondents 106 4 . 2 . 2 Collecting data 108 4 . 3 Conflict and Community Values in the Social 110 Arena 4 . 4 The Function of Zulu Personal and Animal 113 Names 4 . 4 . 1 Zulu Naming Practices 113 4.5 The Use of Allusive Language in Onoma s tics 118 4.6 Naming Reflecting Inter-Personal Conflict 120 4 . 6.1 Conflict Between Spouses/Lovers 120 4 . 6. 1.1 Personal Names 120 4 . 6.1.2 Animal Names 123 4.6 . 1.3 Homestead Names 127 4. 6. 2 Conflict Between In-Laws 128 4.6.2 . 1 Personal Names 129 4 . 6 . 2.2 Animal Names 132 4.6 . 2 . 3 Homestead Names 135 Vlll 4.6.3 Conflict Within the Family at Large 136 4.6.3.1 Personal Names 137 4.6.3.2 Animal Names 140 4.6.3.3 Homestead Names 145 4.6.4 Conflict with Neighbours and 147 Members of the Local Community 4.6.4.1 Personal Names 148 4.6.4.2 Animal Names 150 4.6.4.3 Homestead Names 154 4.7 Recapitulation on Personal, Animal and 156 Homestead Names 4.8 Nicknames 157 4.8.1 The Function of Nicknames 159 4.8.1.1 Allusion in Nicknaming 162 4.8.1.2 Nicknames Relating 163 to Physical Appearance 4.8.1.3 Nicknames Relating 165 to Behaviour Traits 4.8.1.4 Nicknames Depicting 168 Character Traits 4.8.1.5 Nicknames Depicting 171 Features of Dress 4.8.1.6 Nicknames Reflecting 171 Idiosyncratic Speech Patterns 4.8.1.7 Nicknames Given to Females 172 4.9 Conclusion 173 IX Chapter 5: EVIDENCE OF CONFLICT AND CRITICISM IN ZULU ORAL CLAN HI STORY 5.1 Introduction 176 5.2 Performance of Clan Izibongo 178 5 . 3 Criticism in Clan Izibongo 179 5 . 3 . 1 Izibongo zikaQwabe/Gurnede/Khuzwayo/ 180 5 . 3 . 2 Izibongo zikaKhus i 182 5 . 3 . 3 Izibongo zikaLuthuli 184 5 . 3.4 Izibongo zikaNdabandaba 186 5.3 . 5 Izibongo zikaNdimande 186 5 . 3 . 6 Izibongo zikaMkhize 187 5 . 3 . 7 Izibongo zikaMyeza 188 5 . 3 . 8 Izibongo zikaNgcobo 188 5 . 3.9 Izibongo zikaShelernbe 188 5 . 4 Recapitulation on Clan Izibongo 192 Chapter 6 : THE IZIBONGO/ZZIHASHO OF ZULU WOMEN 6.1 Introduction 194 6.2 Izibongo/izihasho Methodology 196 6 . 2 . 1 Identification of Respondents 198 6. 2 . 2 Collecting Data 199 6. 2 . 3 Ethics 200 6. 3 Women and Izihasho 202 6 . 4 Izibongo texts Recorded in Print 208 6.4 . 1 The Izibongo of Royal Zulu Women 208 6. 4 . 1.1 Brief Historical 210 Background of Mkabayi 6 . 4 . 1.2 Brief Historical Background 216 x of Nandi 6.4.1.3 Brief Historical Background 225 of Monase 6.4.1.4 Brief Historical 227 Background of Nqumbazi 6.5 Recapitulation of Royal Women's Izibongo 229 6.6 The Oral Composition of Ordinary Women 230 6.6.1 Contemporary Oral Compositions in 232 Urban Settings 6.6.2 Prominent Themes in Women's Izihasho 234 6.6.2.1 The Theme of Promiscuity 235 6.6.2.2 The Theme of Gossiping 250 6.6.2.3 The Theme of Excessive Drinking 257 6.6.2.4 The Theme of Overstaying One's 258 Welcome 6.7 Recapitulation of Women's Izihasho 259 Chapter 7: THE IZIBONGO/IZIHASHO OF ZULU MEN 7.1 Introduction 261 7.2 The Role of Language 262 7.2.1 Oral Formulas 262 7.2.2 Humour and Satire 265 7.2.3 Bawdy Language and Sexual Innuendo 267 7.3 Izibongo zamakhosi 268 7.3.1 Criticism in Men's Izibongo Recorded 270 in Print: Extracts from the Izibongo Zamakhosi 7.3.1.1 Criticism in the Izibongo 271 of Senzangakhona Xl 7.3.1.2 Criticism in the Izibongo 273 of Shaka 7.3.1.3 Criticism in the Izibongo 275 of Dingane 7.3.1.4 Criticism in the Izibongo 279 of Mpande 7.3.1.5 Criticism in the Izibongo 280 of Cetshwayo 7.4 Izihasho Zabantu 283 7.4.1 Criticism in the Izihasho of Ordinary 285 People 7.5 Various Complaint Motifs and Critical Themes 286 7.5.1 The Theme of Sexual Misconduct 286 7.5.2 The Theme of Drunkenness 290 7.5.3 The Theme of Theft and Dishonesty 297 7.5.4 The Theme of Domestic Matters 310 7.6 Recapitulation of Men's Izihasho 317 Chapter 8 GENERAL SUMMARY AND CONCLUSION 320 REFERENCES 333 xii CHAPTER 1: INTRODUCTION 1.1 Genera~ Introduction Conflict can arise in virtually any social setting, whether it is between individuals, groups, organisations or nations, and it is unavoidable in human society.
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